Candy, fans and profit

I’m an old school true gamer. I really like to play everything. I can have fun playing The Last of Us in the survivor mode and I can have equal fun playing Zombie Tsunami. One important thing in gaming research is looking at all kinds of games (and players) without prejudice. And this piece is about players, passions, casual games and fans.

Recently I started to play Candy Crush on iPhone. The simple game catches me. Not for the game mechanics (that is nothing new if you’ve played Bejeweled sometime in your life), nor for the thematic/aesthetics (I really don’t like candy) but the game has an excellent idea of business model and how to engage the users in the experience transforming great part of them in fans of Candy Crush.

The video below shows the game mechanics idea and the colourful interface:



King.com – the studio behind Candy Crush - is the largest site for free games online. But “free” requires a good strategy to earn money from other sources and other formats. The most part of King.com games works on a “freemium” model.

Freemium (free + premium) is a business model by which a proprietary product or service (typically a digital offering such as software, media, games or web services) is provided free of charge, but money (premium) is charged for advanced features, functionality, or virtual goods.

In Candy Crush, King.com puts lots of efforts to create a balance between entertainment for players, sharing in social media and selling of virtual goods (extra lives, special powers, etc.). The game offers limited lives to the player and when they are finished the user has two options: 1) wait a few minutes to gather more lives or 2) pay with real money to get new lives (or powers) immediately. The addictive game mechanics create the perfect ecosystem to sell virtual lives and powers that facilitate the journey in the game. Players can also gain new lives sharing Candy Crush features on Facebook (bonus in exchange of advertising).



King.com is trying to create an intense relationship with the players to achieve more profit. More than just users, the company needs fans to grow. As Sandvoss and Harrington (2007) remark, for better or for worse fans tend to engage with their passions not in a rationally detached but in an emotionally involved and invested way.

Jenkins (2006: 41) reinforces this idea about the role of the fan in contemporary participatory culture. Although the author examines television shows and other kinds of fan activity, we believe his ideas may help us make sense of what goes on in the social networking service in question. Let us quote what Jenkins has to say about the way one becomes a fan:

“One becomes a “fan” not by being a regular viewer of a particular program but by translating that viewing into some kind of cultural activity, by sharing feelings and thoughts about the program content with friends, by joining a “community” of other fans who share common interests. For fans, consumption naturally sparks production; reading generates writing, until the terms seem logically inseparable” (…)

As we know, fans have a special role inside social media communities. A community of fans that surrounds a specific platform becomes a fandom, and this audience deserves special attention. A well-structured fandom can become an effective marketing tool for any specific social media platform.

It seems that companies like King.com must understand how to motivate and activate the fandom audiences, as well as how to bring them closer. Meaningful experiences are important in this context because it’s a key for players to spend money inside the game experience. The idea of freemium is surrounded by strategies to engage the player as a fan.

And now let me try to finish the level 89 of Candy Crush.

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References:

GRAY, J.; SANDVOSS, C.; HARRINGTON, L. (eds.). Fandom: identities and communities in a mediated world. New York: NYU Press, 2007.

JENKINS, H. Fans, bloggers and gamers: exploring participatory culture. New York: NYU Press, 2006.

King.com official site (link here)

Essential data about the global gaming market

A world of possibilities in new platforms with many players.





Source: Digital Spy (2013)

4 Minutes and 33 Seconds of Uniqueness

Is game art? Well, it’s a very wide discussion and I think a simple blog post is not sufficient to debate this, but, undeniably, games use lots of things from the art field. This post is about a very curious ludic experiment that mixes art with games. In 2010, the Nordic game designer Petri Purho took the main idea of John Cage’s composition 4’33’’ and transformed it in a ludic interface.

4’33’’ (pronounced "Four minutes, thirty-three seconds" or just "Four thirty-three”) is a composition by American experimental composer John Cage (1912–1992) and the idea of the performance consist of NOT playing any musical instruments during that period of 4 minutes and 33 seconds. The sounds of the environment is the only thing that the listeners hear while it is performed, although this composition is commonly perceived as "four minutes thirty-three seconds of silence".

In the digital gaming experiment 4 Minutes and 33 Seconds of Uniqueness the user needs to look into a white screen with a black progression bar for 4 minutes and 33 seconds. To reach the end of the experience successfully, the “player” must be the only person in the world looking into the screen. You’ll win the game if you’re the only one playing it at the moment in the world and the experiment works online only.



The creative mind behind this ludic interface said in his website that 4 Minutes and 33 Seconds of Uniqueness is “an exploration to what actually defines a game. You can win or fail in the game, but there is no user input or interactivity of any kind. I was tempted to leave the graphics out completely, but I figured that the white progress bar is abstract enough.”

You can play the experiment by clicking here.

And you can see a live performance of the John Cage’s composition in the video below:



Now on to your opinion.

Creating and solving puzzles

This is a post with special content from one great book: Jesse Schell’s ‘The art of game design’. It’s a mandatory reading about gaming concepts and game design. The author explains with awesome graphs – in a very intuitive way - the whole process of creating games. It’s a fantastic guide for everybody who works or wants to work in the gaming field.



Today I want to talk about one of my favorite subjects: puzzles. In ‘The art of game design’ we can find a special session (SCHELL, 2008, p.210-218) analyzing this theme. I don’t want to quote all content of this chapter of the book but I intend to highlight some essential points using a good puzzle from ‘God of War: Ascension’ as an example.

Let’s watch a short video of the game to discuss some important features of the puzzle creating process.



In this God of War’s challenge we can identify essential points about good puzzles. According to Schell:

#1 Make the Goal Easily Understood: when Kratos enters the great room there’s a wide view with every element to solve the puzzle: the mortal spiked wheel, the lever, the way with the concentric circles, etc. And the goal here is clear: stop the spiked wheel for a few moments to get the treasures on the top side.

#2 Make It Easy to Get Started: the scenario provides the player the option to try the levers and see how the spiked wheel stops on every obstacle. So, the player needs to investigate a logical order to achieve the challenge. The important thing here is: the interface of the game guides the player into the center of the room to use Krato’s weapons in the levers.

#3 Give It a Sense of Progress: each lever generates a different result on the spiked wheel and the order the player hits each one, too. This way, it is possible to generate a type of learning curve and the idea of progress.

#4 Give It a Sense of Solvability: each element in this part of the game creates a visual key of understanding to the player. Each lever creates a different kind of interference in the scenario and it’s possible to see, in fact, the solution.

#5 Increase Difficulty Gradually: this is not the first trial of the game. The player has probably passed other ones. It’s important to create a high level challenge on each stage. Otherwise, the game could be a boring experience.

#6 Hints Extend Interest: hints are a good way to engage the player inside the puzzle experience. Video games have excellent resources to do this. In ‘God of War: Ascension’, for example, we can see visual hints every time the player pulls a lever. In other situations in the same game the camera travels to show the player which elements in the scenario one needs to interact.

#7 Give the Answer: and a reward! After a puzzle it’s important to give some kind of prize to the player and it’s essential to tell them that the enigma was solved. It’s clever to show the player that they did the right thing and this part of the game is finished. In Playstation and Xbox games, a virtual trophy or achievement is another way to say to the player “congratulations, you’ve done this”.

Soon I want to address another issue from this book: interface.

Szia!

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Reference: SCHELL, Jesse. The art of game design. Burlington: Elsevier, 2008.

The delicate balance between challenges, narrative and rules

At this moment I’m playing again ALAN WAKE (Xbox 360, Remedy Entertainment /Microsoft Game Studios, 2010). The game is a third person psychological horror thriller about novelist Alan Wake, as he tries to uncover the mystery behind his wife's disappearance, during a vacation in the small fictional town of Bright Falls. During the game, Alan is transported to a kind of dark dimension where stories from his horror books become real.

The game is one of my favourites and it offers an awesome experience to the player with a perfect blend between the puzzles/challenges/enemies, the narrative and the rules/mechanics.



In ALAN WAKE the ammo is limited, the creatures are in great number and, frequently, you need to run instead of fight. The game dynamics creates an atmosphere of tension all the time and in the end of each chapter you can relax a little bit enjoying the game's good soundtrack (‘Up Jumped the Devil’ by Nick Cave and the Bad Seeds is included). The transition between the chapters is very creative and uses a language of TV show to create immersion for the player.

ALAN WAKE’s experience offers to the players a very special way to enjoy a good narrative inside a game. But it is important to remember that this experience is commanded by rules that create bounds in the game’s universe.



Jesper Jull (2005, p.5), in his book ‘Half-Real’, says, “the rules of a game provide the player with challenges that the player cannot trivially overcome. It is basic paradox of games that while the rules themselves are generally definite, unambiguous, and easy to use, the enjoyment of a game depends on these easy-to-use rules presenting challenges that cannot be easily overcome. Playing a game is an activity of improving skills in order to overcome these challenges, and playing a game is therefore fundamentally a learning experience.”

And this ‘learning experience’ is fundamental in games like ALAN WAKE because it generates the process of immersion required in good horror stories like this one.

On the other hand, Linda Hughes (1999, p.94) says that “Game rules can be interpreted and reinterpreted toward preferred meanings and purposes, selectively invoked or ignored, challenged or defended, changed or enforced to suit the collective goals or different groups of players. In short, players can take the same game and collectively make of it strikingly different experiences”

One thing is certain: to create balance between challenges, narrative and rules, a lot of time* is necessary for beta testing sessions. Patience and deep research are the pillars for good game design.

Check the game trailer below:


*ALAN WAKE took five years to be produced.

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References:

HUGHES, Linda A. Children’s games and gaming. IN: SUTTON-SMITH, Brian; MECHLING Jay; JOHNSON, Thomas; MCMAHON, Felicia. Children’s Folklore. Utah: Utah University Press, 1999. (93-119)

JUUL, Jesper. Half-Real: Video Games between Real Rules and Fictional Worlds. USA: MIT Press, 2005.

Game design process: a graphic approach

A good graphic reference for game designers from the Jesse Schell's book "The art of game design" (2008, p.463). Check the content below (sorry for the bad resolution):

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SCHELL, Jesse. The art of game design. Burlington: Elsevier, 2008.

Serious games: origins

Recently, we have heard a lot about serious games. The media is talking about the use of gaming activities for a great number of purposes including: e-learning, training, advertising, healthcare, social causes, education, etc.



However, the term "serious game" is not new and has been used for a long time, being redefined over the years. Author Clark Abt in his 1970 book "Serious Games" sets the following definition:

“Reduced to its formal essence, a game is an activity among two or more independent decision-makers seeking to achieve their objectives in some limiting context. A more conventional definition would say that a game is a context with rules among adversaries trying to win objectives. We are concerned with serious games in the sense that these games have an explicit and carefully thought-out educational purpose and are not intended to be played primarily for amusement”.

By that time we didn’t have any digital games, but it’s possible to imagine these concepts applied to analogical games.

A little bit of history always helps to improve our gaming researches.